¹ sn The translation reflects the ancient Jewish tradition of substituting the word for “Lord” for the proper name for Israel’s God which is now generally agreed to have been Yahweh. Jewish scribes wrote the consonants YHWH but substituted the vowels for the word “Lord.” The practice of calling him “Lord” rather than using his proper name is also reflected in the Greek translation which is the oldest translation of the Hebrew Bible. The meaning of the name Yahweh occurs in Exod 3:13-14 where God identifies himself as the God of Abraham, Isaac, and Jacob and tells Moses that his name is “I am” (אֶהְיֶה, ʾehyeh). However, he instructs the Israelites to refer to him as YHWH (“Yahweh” = “He is”); see further Exod 34:5-6.

¹ tn Heb “How can you turn back the face of an official [from among] the least of my master’s servants and trust in Egypt for chariots and horsemen?” In vv. 8-9 the chief adviser develops further the argument begun in v. 6. His reasoning seems to be as follows: “In your weakened condition you obviously need military strength. Agree to the king’s terms, and I will personally give you more horses than you are capable of outfitting. If I, a mere minor official, am capable of giving you such military might, just think what power the king has. There is no way the Egyptians can match our strength. It makes much better sense to deal with us.”

⁴ tc The MT is uncertain here. The Kethib (consonantal text) reads: “flee [masculine plural!] to your [masculine plural!] mountain, bird.” The Qere (marginal reading) has “flee” in a feminine singular form, agreeing grammatically with the addressee, the feminine noun “bird.” Rather than being a second masculine plural pronominal suffix, the ending כֶם- (-khem) attached to “mountain” is better interpreted as a second feminine singular pronominal suffix followed by an enclitic mem (ם). “Bird” may be taken as vocative (“O bird”) or as an adverbial accusative of manner (“like a bird”). Either way, the psalmist’s advisers compare him to a helpless bird whose only option in the face of danger is to fly away to an inaccessible place.

² sn One does not expect Micaiah, having just vowed to speak only what the Lord tells him, to agree with the other prophets and give the king an inaccurate prophecy. Micaiah’s actions became understandable later, when we discover that the Lord desires to deceive the king and lead him to his demise. The Lord even dispatches a lying spirit to deceive Ahab’s prophets. Micaiah can lie to the king because he realizes this lie is from the Lord. It is important to note that in v. 13 Micaiah only vows to speak the word of his God; he does not necessarily say he will tell the truth. In this case the Lord’s word is deliberately deceptive. Only when the king adjures him to tell the truth (v. 15), does Micaiah do so.

¹ tn Heb “How can you turn back the face of an official [from among] the least of my master’s servants and trust in Egypt for chariots and horsemen?” In vv. 23-24 the chief adviser develops further the argument begun in v. 21. His reasoning seems to be as follows: “In your weakened condition you obviously need military strength. Agree to the king’s terms and I will personally give you more horses than you are capable of outfitting. If I, a mere minor official, am capable of giving you such military might, just think what power the king has. There is no way the Egyptians can match our strength. It makes much better sense to deal with us.”

¹ sn “Attack! You will succeed; the Lord will hand it over to the king.” One does not expect Micaiah, having just vowed to speak only what the Lord tells him, to agree with the other prophets and give the king an inaccurate prophecy. Micaiah’s actions became understandable later, when it is revealed that the Lord desires to deceive the king and lead him to his demise. The Lord even dispatches a lying spirit to deceive Ahab’s prophets. Micaiah can lie to the king because he realizes this lie is from the Lord. It is important to note that in v. 14 Micaiah only vows to speak the word of the Lord; he does not necessarily say he will tell the truth. In this case the Lord’s word itself is deceptive. Only when the king adjures him to tell the truth (v. 16), does Micaiah do so.

⁴ tn HALOT cites three possibilities for the phrase. Reading the Niphal verb as passive to the Qal meaning (“to examine, check”) and reading the Qere וְלוֹ (v^elo, “and by him”): “actions [are] tested by him.” Taking the Niphal verb to mean “to measure up, be in order, be correct” (cf. Ezek 18:25, 29; 33:17, 20) and reading the Qere וְלוֹ (v^elo): “his [God’s] actions are in order.” Taking the verb as in the previous case but reading the Kethiv וְלֹא (v^eloʾ) and taking the noun עֲלִלוֹת (ʿalilot) as a pejorative: “[disgraceful] actions have no place.” (HALOT s.v. תכן). The translation agrees with the first option and translates the verb with active instead of passive voice.

² sn Although there are those who argue that the water and the blood rites are separate (e.g., E. S. Gerstenberger, Leviticus [OTL], 175-76), it is usually agreed that v. 5b refers to the slaughtering of the bird in such a way that its blood runs into the bowl, which contained fresh water (see, e.g., N. H. Snaith, Leviticus and Numbers [NCBC], 74; G. J. Wenham, Leviticus [NICOT], 208; J. Milgrom, Leviticus [AB], 1:836-38; cf. esp. Lev 14:51b, “and dip them in the blood of the slaughtered bird and in the fresh water”). This mixture of blood and water was then to be sprinkled on the person being cleansed from the disease.

² sn The covenant I made with Israel. Apart from the legal profession and Jewish and Christian tradition, the term “covenant” may not be too familiar. There were essentially three kinds of “covenants” referred to under the Hebrew term used here: (1) “Parity treaties,” or “covenants” between equals in which each party pledged itself to certain agreed-upon stipulations and took an oath to it in the name of their god or gods (cf. Gen 31:44-54); (2) “Suzerain-vassal treaties,” or “covenants” in which a great king pledged himself to protect the vassal’s realm and his right to rule over his own domain in exchange for sovereignty over the vassal, including the rendering of absolute loyalty and submission to the great king’s demands spelled out in detailed stipulations; and (3) “Covenants of grant,” in which a great king granted to a loyal servant or vassal king permanent title to a piece of land or dominion over a specified realm in recognition of past service. It is generally recognized that the Mosaic covenant, which is being referred to here, is of the second type, resembling in form the ancient Near Eastern suzerain-vassal treaties. These treaties typically contained the following elements: (1) a preamble identifying the great king (cf. Exod 20:2a; Deut 1:1-4); (2) a historical prologue summarizing the great king’s past benefactions as motivation for future loyalty (cf. Exod 20:2b; Deut 1:5-4:43); (3) the primary stipulation of absolute and unconditional loyalty (cf. Exod 20:3-8; Deut 5:1-11:32); (4) specific stipulations governing future relations between the vassal and the great king and the vassal’s relation to other vassals (cf. Exod 20:22-23:33; Deut 12:1-26:15); (5) the invoking of curses on the vassal for disloyalty and the pronouncing of blessing on him for loyalty (cf. Lev 26; Deut 27-28); (6) the invoking of witnesses to the covenant, often the great king’s and the vassal’s gods (cf. Deut 30:19; 31:28, where the reference is to the “heavens and the earth” as enduring witnesses). It is also generally agreed that the majority of the threats of punishment by the prophets refer to the invocation of these covenant curses for disloyalty to the basic stipulation, that of absolute loyalty.

² sn The author here assumes the reality of the protasis (the “if” clause), which his recipients, as believers, would also be expected to agree with: Assuming that God has loved us in this way, then it follows that we also ought to love one another. God’s act of love in sending his Son into the world to be the atoning sacrifice for our sins (v. 10) ought to motivate us as believers to love one another in a similar sacrificial fashion. The author made the same point already in 1 John 3:16. But this failure to show love for fellow believers is just what the opponents are doing: In 1 John 3:17 the author charged them with refusing to love their brothers by withholding needed material assistance. By their failure to love the brothers sacrificially according to the example Jesus set for believers, the opponents have demonstrated again the falsity of their claims to love God and know God (see 1 John 2:9).

² tn There is some dispute over the significance of the aorist tense of ἁμάρτητε (hamartēte): (1) F. Stagg (“Orthodoxy and Orthopraxy in the Johannine Epistles,” RevExp 67 [1970]:423-32, esp. 428) holds that the aorist is nondescriptive, saying nothing about the nature of the action itself, but only that the action has happened. This is indeed the normal aspectual value of the aorist tense in general, but there is some disagreement over whether with this particular verb there are more specific nuances of meaning. (2) M. Zerwick (Biblical Greek §251) and N. Turner (MHT 3:72) agree that the present tense of ἁμαρτάνω (hamartanō) means “to be in a state of sin” (i.e., a sinner) while the aorist refers to specific acts of sin. Without attempting to sort out this particular dispute, it should be noted that certain verbs do have different nuances of meaning in different tenses, nuances which do not derive solely from the aspectual value of the tense per se, but from a combination of semantic factors which vary from word to word.

¹ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

² sn The following passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

³ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ sn This passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ sn The following passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.

¹ tc ‡ A number of witnesses, some of them significant, have the passive ἐβαπτίσθησαν (ebaptisthēsan, “were baptized”) instead of the middle ἐβαπτίσαντο (ebaptisanto, “baptized [themselves]”) in v. 2 (so א A C D F G Ψ 33 al latt). However, the middle is not without its representation (P^46c B 1739 1881 M Or; the original hand of P⁴⁶ read the imperfect middle ἐβαπτίζοντο [ebaptizonto]). The passive looks like a motivated reading in that it is clearer and conforms to typical Pauline usage (his thirteen instances of the verb are all either active or passive). B. M. Metzger, in representing a minority opinion of the UBS Committee, suggests that the middle would have been appropriate for Jewish baptism in which the convert baptizes himself (TCGNT 493). But this assumes that the middle is a direct middle, a rare occurrence in the NT (and never elsewhere with this verb). Further, it is not really baptism that is in view in v. 2, but passing through the Red Sea (thus, a metaphorical use). Although the present editors agree with the minority’s resultant reading, it is better to take the middle as causative/permissive and the scribes as changing it to a passive for clarity’s sake. Translational differences are minimal, though some exegetical implications are involved (see ExSyn 427).

⁴ tc A few significant witnesses lack ὑμῶν (humōn, “your”) here (P^66,75 B L W 070), while the majority have the pronoun (א C D Θ Ψ 0250 ƒ^1,13 33 565 892 M al lat sy). However, these mss do not agree on the placement of the pronoun: τοῦ πατρὸς ὑμῶν ποιεῖτε (tou patros humōn poieite), τῷ πατρὶ ὑμῶν (tō patri humōn), and τῷ πατρὶ ὑμῶν ταῦτα (tō patri humōn tauta) all occur. If the pronoun is read, then the devil is in view and the text should be translated as “you are practicing the things you have heard from your father.” If it is not read, then the same Father mentioned in the first part of the verse is in view. In this case, ποιεῖτε should be taken as an imperative: “you [must] practice the things you have heard from the Father.” The omission is decidedly the harder reading, both because the contrast between God and the devil is now delayed until v. 41, and because ποιεῖτε could be read as an indicative, especially since the two clauses are joined by καί (kai, “and”). Thus, the pronoun looks to be a motivated reading. In light of the better external and internal evidence the omission is preferred.

² sn The following passage has been typeset as poetry because many scholars regard this passage as poetic or hymnic. These terms are used broadly to refer to the genre of writing, not to the content. There are two broad criteria for determining if a passage is poetic or hymnic: “(a) stylistic: a certain rhythmical lilt when the passages are read aloud, the presence of parallelismus membrorum (i.e., an arrangement into couplets), the semblance of some metre, and the presence of rhetorical devices such as alliteration, chiasmus, and antithesis; and (b) linguistic: an unusual vocabulary, particularly the presence of theological terms, which is different from the surrounding context” (P. T. O’Brien, Philippians [NIGTC], 188-89). Classifying a passage as hymnic or poetic is important because understanding this genre can provide keys to interpretation. However, not all scholars agree that the above criteria are present in this passage, so the decision to typeset it as poetry should be viewed as a tentative decision about its genre.